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In the City of Lights

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Page Artiste Sarah Vaughan

Détails sur le produit

  • CD (10 octobre 2005)
  • Nombre de disques: 2
  • Label: Justin Time Records
  • ASIN : B00000J28F
  • Autres éditions : CD
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 273.926 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Disque 1 piste 1
  2. Disque 1 piste 2
  3. Disque 1 piste 3
  4. Disque 1 piste 4
  5. Disque 1 piste 5
  6. Disque 1 piste 6
  7. Disque 1 piste 7
  8. Disque 1 piste 8
  9. Disque 1 piste 9
  10. Disque 1 piste 10
  11. Disque 1 piste 11

Disque : 2

  1. Disque 2 piste 1
  2. Disque 2 piste 2
  3. Disque 2 piste 3
  4. Disque 2 piste 4
  5. Disque 2 piste 5
  6. Disque 2 piste 6
  7. Disque 2 piste 7

Descriptions du produit


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Commentaires client les plus utiles sur (beta) HASH(0x94642c00) étoiles sur 5 13 commentaires
19 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0x94639444) étoiles sur 5 The dream live release for Sassy's fans 26 février 2000
Par Un client - Publié sur
Format: CD
I picked this one up while in New York City last weekend and have been playing it all week. One of the great faults of the recording industry was the failure to document a Sarah Vaughan concert in the last 15 years of her life, save for the "Gershwin Live!" set with orchestrations.
This one features the radiant voice in outstanding sound with just a trio during a Paris concert in 1985. Her repertoire begins with an a cappella version of "Summertime" and features standard Sassy selections from the 1980s, including superb versions of "Misty," "Tenderly" and "Send in the Clowns." The trio of pianist Frank Collett, Bob Maize on bass and Harold Jones on drums supports the singer without becoming entirely irrelevant. Of course, the real star is Vaughan herself, who is in splendid voice and playfully good humor throughout (including the inevitable "I am Ella Fitzgerald" joke). Thankfully, the producers provided the entire concert, which clocks in at about 90 minutes, and spread it over two disks rather than shave it down to one. In short, this release will become an essential part of Sarah Vaughan's discography. Five stars are not enough for this one.
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x963ef984) étoiles sur 5 Sassy at Her Very Best 16 février 2001
Par sidney horowitz - Publié sur
Format: CD
I have been a huge fan of Sassy's for many years and have had the marvelous opportunity of seeing her "live" many, many times. On one occasion, at Park West in Chicago, I heard her sing "Send In the Clowns" for the first time. I was mezmerized.
To my knowledge, a duplicate of that experience is available only on the LP version of "Sassy at Ronnies", a live recording made at a London club, and on this "live" recording of a Paris concert.
Her treatment of "My Funny Valentine," which she is always a treat to hear, has an additional "verse" which all will appreciate, "die hards" like myself, will adore.
Through all of the tunes on this recording, her vocal range is, as usual, the fourth instrument of her teriffic and in sync trio.
If one were to have an opportunity to own only one of Sarah Vaughn's recordings...and I love and own almost all of them...this would be my choice.
It is, without question, one of her very best.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x94361eac) étoiles sur 5 Truly authentic 30 décembre 2002
Par C. Pompey - Publié sur
Format: CD
If you want true authentic jazz, then you should seriously consider buying this album. Sarah Vaughan is one of the greatest singers of all time. I love jazz, but I listen to instrumental jazz more so than anything else. However, I found myself enjoying this CD to the fullest. Sarah Vaughan plays to the crowd and delivers a rousing performance. Her vocal skills were unparalled then and the same can be said now. From the band on down, this is a wonderful jazz experience. I can imagine how the crowd felt, because it seemed like such a great atmosphere. For musicians of all ages...this is an example of how jazz should be played. The musicians are great on this album and there is even a instrumental piece. Once again, great CD that will deliver a true authentic jazz experience.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x94495180) étoiles sur 5 Possibly the last masterful performance by ANY American diva. 1 juin 2012
Par Giuseppe C. - Publié sur
Format: CD Achat vérifié
After hearing her recordings and seeing her in person during the late '70s and into the '80s, I had formed a firm opinion about Sarah's vocal quality: after her "natural" range had dropped by at least half an octave (she, like Carmen, was a smoker), she had compensated with a falsetto that was anything but "divine," at times reminding me of a bad church soprano.

I was dead wrong, as I began to sense immediately after downloading this particular version of Tad Dameron's "If You Could See Me Now." Not only was it completely unexpected from Sarah (recorded five years before her death), but it was without a doubt the most moving, emotional, spellbinding, and technically accomplished version of the tune I'd ever heard. (Listen, especially, for her segueing from the first chorus of the tune into the bridge without taking a breath!)

When each successive replaying of the tune moved me more than the previous one (chills each time), I broke my promise to myself about not buying any more CDs. This one simply promised more than anything that had come along in the present millennium (though discoveries like the Monk-Coltrane Carnegie Hall concert and the emergence of Roberta Gambarini have spared us, at least, from a completely barren musical landscape).

But after listening to this late Sarah date in its entirety, I find that my hunch is fully vindicated. What you will hear on this occasion is as remarkable a performance as a female jazz vocalist working with a highly supportive, empathetic piano trio is capable of giving. Though unknown to me, pianist Frank Collett provides Sarah with accompaniment that comes as close to serving as a complementary "musical twin," or "alter ego," as a musician can provide. After Sarah opens with an unaccompanied "Summertime," she tackles a Gershwin medley that would be an unnavigable music hazard course for any singer other than a complete, inerrant "musician" such as Sarah Vaughan. There are continual key changes, starts and stops, and always when you least expect them. During "Fascinating Rhythm" she scats while the trio remains silent. Then in mid-flight she changes keys--with precise intonation the instant BEFORE the trio joins her with spot-on timing.

I've never heard her low register sound more powerful (C below middle C is not even a reach for her) nor have I previously heard her with a drummer with sufficient power to match her own vocal production. On this occasion she has him--Harold Jones, the great former Count Basie drummer. Roy Haynes may have been ideal for her delivery and projection during the 1950s, but he would be too lightweight for this Sarah--who simply requires a Harold Jones if not an Art Blakey to match her power! (Has the question of musicians and steroids ever come up, even for no-so-serious discussion?) And Collette has plenty of moments when, unlike most accompanists, he need not hold back in the least for a female vocalist. Sarah's dynamic thunder requires a trio capable of matching it--and for once she has it! The drummer brings his mallets and sticks; the piano lid is propped all the way up; both musicians have numerous opportunities to play all out, nothing held back. On this occasion, Sarah is ready to take on the world.

If you're a listener who can put yourself in the same position as the performer--as opposed to simply waiting to be "entertained"--the excitement, drama and electricity of this singular performance will be so much greater. Sarah is dealing with health and physical issues affecting her voice as well as her strength, yet she handles each challenge not only with effortless grace but with absolutely stunning strength, mesmerizing the listener at one instant and overpowering him the next.

The performance becomes all the more rare when you compare it to others, then or now: at this time Ella's diabetes was winning the battle, and she was paying for it in an ever more-noticeable vibrato that had become a "wobble"; Carmen's smoking had limited her range, much as it had Sarah's, but as attuned to the drama of a song's lyric as she always was, she hadn't developed the musical "workarounds" that allowed Sarah to retain even her upper-soprano range. And if we consider the jazz singers of today who receive the most attention--Krall, Spalding, Gardot, etc.--the rare artistry and accomplishment of Sassy, the lone Divine One, isn't even open to question. This is the last truly explosive performance by an artist with the imagination, gifts, and experience to create music of the highest order in the heat of the extemporaneous moment. It's inspiring to behold and, at the same time, incomprehensible that a treasure like this was withheld for so many years.

[In attempting to locate more information about this album, I was dismayed to discover what "digital progress" has done to the formerly useful "All Music Guide." Powered by Rovi, it's now about as helpful as that developer's best-selling "Angry Birds" game. Consider yourself lucky if you've discovered the existence of "Sarah in the City of Lights."]
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x943584ec) étoiles sur 5 a full and rich voice 13 février 2002
Par Un client - Publié sur
Format: CD
I used to prefer Sarah's earlier recordings, where the voice was pure and sweet, but I've now come to appreciate the richness of her mature voice and her wonderful artistry. The recording is a good example of a unique artist at her best.
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